Redefining “Actress”--Deconstruction of the Traditional “Actress” Image in Jia Ling’s Sketch “Titanic”

Yan Guizhi

doi:doi:10.11648/j.ijla.20200802.19

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Redefining “Actress”--Deconstruction of the Traditional “Actress” Image in Jia Ling’s Sketch “Titanic”

Yan Guizhi

Received: 27 February 2020 Accepted: 10 March 2020 Published: 31 March 2020

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Abstract

In show business, female have long suffered unfair treatment and are constantly required to live up to the expectations from the society. With the passage of time, as what was already summarized by Simone de Beauvoir in The Second Sex, female celebrities are turned into “actress” in a certain manner. However, as a special existence in show business, Jia Ling intentionally deviates from the stereotype of female image in media to amuse the public and gradually earns her subjectivity in the crosstalk field. The female images presented in her sketch to some extent resist the hegemonic power imposed by the patriarchal society and may as well serve to criticize the cliche of female image, thus her sketch is of great significance for in-depth cultural analysis. On that basis, this essay has selected her popular sketch “Titanic” as the text by way of close reading to explore the cultural connotation from the perspective of popular culture, which more specifically covers the characteristics of clinginess and subversion in popular culture. In the mean time, the use of deconstructionism and carnival theory also contribute to the cultural understanding of the sketch. The image presented by Jia Ling therefore shows resistance to the undergone by actress or to a larger extent female as a whole and present Jia’s independent thought and personal glamour. And popular culture, deconstructionism and carnival theory share one common feature in that they all have the power of resistance and criticism, which can be selected as the theoretical tool in interpreting the accumulated and circulated stereotype of actress and realizing the empowerment of female in general in the society.

DOI	10.11648/j.ijla.20200802.19
Published in	International Journal of Literature and Arts (Volume 8, Issue 2, March 2020) This article belongs to the Special Issue Humanity and Science: China’s Intercultural Communication with the Outside World in the New Era
Page(s)	93-99
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Popular Culture, Carnival Theory, Deconstructionism, Feminism

References

[1]	Simone de Beauvoir, (2011) “The Second Sex”II, Shanghai, Shanghai TranslationPubishing House, pp. 9.
[2]	Long Chengshuai, (2013), “The Marginalized Female Image in Popular Media”, Literature Education (Chinese), (04): pp. 47.
[3]	Sun Yu & Yang Yufei, (2015), “Princess Representing New Feminism--On the Use of Deconstructionism in the Series of Disney Princess Movies”, Journal of Xi’an Foreign Language School, 23 (01): pp. 93-96.
[4]	Guan Hui, (2016), “Connection in Carnival--The Carnival Theory of Bakhtin and Popular Culture, Foreign Language Teaching and Research Press, (05): pp. 132-137+148.
[5]	Sun Liju, (2017), “The Moral Orientation of Deconstructionism Products of Popular Culture”, Shandong Social Sciences, (10): pp. 50-54.
[6]	Zhang Jun&Tan Enme, (2018), “The way of deconstruction of “Orientalism” in the Book “The Joy Luck Club” and the Multiple Code Behind”, Foreign Languages Research, 35 (01): pp. 81-87+112.
[7]	Hu Lianli&Liu Weina, (2016), “The Media’s Misinterpretation and Reconstruction of Female”, Journal of Hebei University (Philosophy and Social Science), (01): pp. 74-79.
[8]	Guo Chao, (2015), “The Female Media Image in the Internet Era”, Journal of News Research, 6 (07): pp. 214+178.
[9]	Chen Kaiju, (2004), “On the Clinginess and Subversion of Popular Culture from the Perspective of the Sketch ‘Red Sorghum Model Team”, Jiangxi Social Sciences, (06): pp. 181-184.
[10]	Chen Kaiju & Zhang Jin, (2016), “A Critique on Pan-Amusement of Postmodern Culture, Philosophical Research, (07): pp. 120-126.
[11]	Chen Hongxiu, (2007). “The Result of Entertainment Spirit and the New idea of Deconstruction--the Cultural Reading of “Kuso” Videos, Theory Journal, (02): pp. 124-126.
[12]	Bai Chunren & Gu Yaling, (1988), On Bakhtin Dostoevsky’s Poetics [Russia], Beijing, SDX Joint Publishing Company, pp. 250.
[13]	Chen Yuhong, (2012), “Pragmatic Research on the Phenomenon of Intentional Deviation in Chinese Comic Sketch”, Foreign Language Education, (00): pp. 146-156.
[14]	Liao Xiufen, (2015), “On the Sketch as Part of Popular Culture”, Sichuan Drama, (12): pp. 29-32.
[15]	Fiske, John, (1989), Understanding Popular Culture, London, Unwin, Hyman.
[16]	Yuan Zhenning, (2019), “Crazy Alien: Voices of the Disadvantaged Under the Context of Deconstructionism and Black Humor, Film Review, (06): pp. 64-67.
[17]	Zhou Jianping, (2014), “Chasing After “Carnival”--the Carnival Theory of Bakhtin and Contemporary Popular Culture Phenomena”, Journal of Qiqihar University (Philosophy and Social Sciences), (05): pp. 74-75.
[18]	Graeme, T. S. (1996), British Cultural Studies (2nd edition), London, Routledge.

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Yan Guizhi. (2020). Redefining “Actress”--Deconstruction of the Traditional “Actress” Image in Jia Ling’s Sketch “Titanic”. International Journal of Literature and Arts, 8(2), 93-99. https://doi.org/10.11648/j.ijla.20200802.19

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Yan Guizhi. Redefining “Actress”--Deconstruction of the Traditional “Actress” Image in Jia Ling’s Sketch “Titanic”. Int. J. Lit. Arts 2020, 8(2), 93-99. doi: 10.11648/j.ijla.20200802.19

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Yan Guizhi. Redefining “Actress”--Deconstruction of the Traditional “Actress” Image in Jia Ling’s Sketch “Titanic”. Int J Lit Arts. 2020;8(2):93-99. doi: 10.11648/j.ijla.20200802.19

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@article{10.11648/j.ijla.20200802.19,
  author = {Yan Guizhi},
  title = {Redefining “Actress”--Deconstruction of the Traditional “Actress” Image in Jia Ling’s Sketch “Titanic”},
  journal = {International Journal of Literature and Arts},
  volume = {8},
  number = {2},
  pages = {93-99},
  doi = {10.11648/j.ijla.20200802.19},
  url = {https://doi.org/10.11648/j.ijla.20200802.19},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20200802.19},
  abstract = {In show business, female have long suffered unfair treatment and are constantly required to live up to the expectations from the society. With the passage of time, as what was already summarized by Simone de Beauvoir in The Second Sex, female celebrities are turned into “actress” in a certain manner. However, as a special existence in show business, Jia Ling intentionally deviates from the stereotype of female image in media to amuse the public and gradually earns her subjectivity in the crosstalk field. The female images presented in her sketch to some extent resist the hegemonic power imposed by the patriarchal society and may as well serve to criticize the cliche of female image, thus her sketch is of great significance for in-depth cultural analysis. On that basis, this essay has selected her popular sketch “Titanic” as the text by way of close reading to explore the cultural connotation from the perspective of popular culture, which more specifically covers the characteristics of clinginess and subversion in popular culture. In the mean time, the use of deconstructionism and carnival theory also contribute to the cultural understanding of the sketch. The image presented by Jia Ling therefore shows resistance to the undergone by actress or to a larger extent female as a whole and present Jia’s independent thought and personal glamour. And popular culture, deconstructionism and carnival theory share one common feature in that they all have the power of resistance and criticism, which can be selected as the theoretical tool in interpreting the accumulated and circulated stereotype of actress and realizing the empowerment of female in general in the society.},
 year = {2020}
}

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TY  - JOUR
T1  - Redefining “Actress”--Deconstruction of the Traditional “Actress” Image in Jia Ling’s Sketch “Titanic”
AU  - Yan Guizhi
Y1  - 2020/03/31
PY  - 2020
N1  - https://doi.org/10.11648/j.ijla.20200802.19
DO  - 10.11648/j.ijla.20200802.19
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 93
EP  - 99
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20200802.19
AB  - In show business, female have long suffered unfair treatment and are constantly required to live up to the expectations from the society. With the passage of time, as what was already summarized by Simone de Beauvoir in The Second Sex, female celebrities are turned into “actress” in a certain manner. However, as a special existence in show business, Jia Ling intentionally deviates from the stereotype of female image in media to amuse the public and gradually earns her subjectivity in the crosstalk field. The female images presented in her sketch to some extent resist the hegemonic power imposed by the patriarchal society and may as well serve to criticize the cliche of female image, thus her sketch is of great significance for in-depth cultural analysis. On that basis, this essay has selected her popular sketch “Titanic” as the text by way of close reading to explore the cultural connotation from the perspective of popular culture, which more specifically covers the characteristics of clinginess and subversion in popular culture. In the mean time, the use of deconstructionism and carnival theory also contribute to the cultural understanding of the sketch. The image presented by Jia Ling therefore shows resistance to the undergone by actress or to a larger extent female as a whole and present Jia’s independent thought and personal glamour. And popular culture, deconstructionism and carnival theory share one common feature in that they all have the power of resistance and criticism, which can be selected as the theoretical tool in interpreting the accumulated and circulated stereotype of actress and realizing the empowerment of female in general in the society.
VL  - 8
IS  - 2
ER  -

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Author Information

Yan Guizhi

Business English Study, International Business English School, Guangdong University of Foreign Studies, Guangzhou, China

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Plain Text BibTeX RIS

APA Style

Yan Guizhi. (2020). Redefining “Actress”--Deconstruction of the Traditional “Actress” Image in Jia Ling’s Sketch “Titanic”. International Journal of Literature and Arts, 8(2), 93-99. https://doi.org/10.11648/j.ijla.20200802.19

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ACS Style

Yan Guizhi. Redefining “Actress”--Deconstruction of the Traditional “Actress” Image in Jia Ling’s Sketch “Titanic”. Int. J. Lit. Arts 2020, 8(2), 93-99. doi: 10.11648/j.ijla.20200802.19

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AMA Style

Yan Guizhi. Redefining “Actress”--Deconstruction of the Traditional “Actress” Image in Jia Ling’s Sketch “Titanic”. Int J Lit Arts. 2020;8(2):93-99. doi: 10.11648/j.ijla.20200802.19

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@article{10.11648/j.ijla.20200802.19,
  author = {Yan Guizhi},
  title = {Redefining “Actress”--Deconstruction of the Traditional “Actress” Image in Jia Ling’s Sketch “Titanic”},
  journal = {International Journal of Literature and Arts},
  volume = {8},
  number = {2},
  pages = {93-99},
  doi = {10.11648/j.ijla.20200802.19},
  url = {https://doi.org/10.11648/j.ijla.20200802.19},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20200802.19},
  abstract = {In show business, female have long suffered unfair treatment and are constantly required to live up to the expectations from the society. With the passage of time, as what was already summarized by Simone de Beauvoir in The Second Sex, female celebrities are turned into “actress” in a certain manner. However, as a special existence in show business, Jia Ling intentionally deviates from the stereotype of female image in media to amuse the public and gradually earns her subjectivity in the crosstalk field. The female images presented in her sketch to some extent resist the hegemonic power imposed by the patriarchal society and may as well serve to criticize the cliche of female image, thus her sketch is of great significance for in-depth cultural analysis. On that basis, this essay has selected her popular sketch “Titanic” as the text by way of close reading to explore the cultural connotation from the perspective of popular culture, which more specifically covers the characteristics of clinginess and subversion in popular culture. In the mean time, the use of deconstructionism and carnival theory also contribute to the cultural understanding of the sketch. The image presented by Jia Ling therefore shows resistance to the undergone by actress or to a larger extent female as a whole and present Jia’s independent thought and personal glamour. And popular culture, deconstructionism and carnival theory share one common feature in that they all have the power of resistance and criticism, which can be selected as the theoretical tool in interpreting the accumulated and circulated stereotype of actress and realizing the empowerment of female in general in the society.},
 year = {2020}
}

Copy | Download

TY  - JOUR
T1  - Redefining “Actress”--Deconstruction of the Traditional “Actress” Image in Jia Ling’s Sketch “Titanic”
AU  - Yan Guizhi
Y1  - 2020/03/31
PY  - 2020
N1  - https://doi.org/10.11648/j.ijla.20200802.19
DO  - 10.11648/j.ijla.20200802.19
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 93
EP  - 99
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20200802.19
AB  - In show business, female have long suffered unfair treatment and are constantly required to live up to the expectations from the society. With the passage of time, as what was already summarized by Simone de Beauvoir in The Second Sex, female celebrities are turned into “actress” in a certain manner. However, as a special existence in show business, Jia Ling intentionally deviates from the stereotype of female image in media to amuse the public and gradually earns her subjectivity in the crosstalk field. The female images presented in her sketch to some extent resist the hegemonic power imposed by the patriarchal society and may as well serve to criticize the cliche of female image, thus her sketch is of great significance for in-depth cultural analysis. On that basis, this essay has selected her popular sketch “Titanic” as the text by way of close reading to explore the cultural connotation from the perspective of popular culture, which more specifically covers the characteristics of clinginess and subversion in popular culture. In the mean time, the use of deconstructionism and carnival theory also contribute to the cultural understanding of the sketch. The image presented by Jia Ling therefore shows resistance to the undergone by actress or to a larger extent female as a whole and present Jia’s independent thought and personal glamour. And popular culture, deconstructionism and carnival theory share one common feature in that they all have the power of resistance and criticism, which can be selected as the theoretical tool in interpreting the accumulated and circulated stereotype of actress and realizing the empowerment of female in general in the society.
VL  - 8
IS  - 2
ER  -

Copy | Download